One of the most influential musicians of the 20th century, João Gilberto and his collaborator Antonio Carlos Jobim helped create and popularize bossa nova.
The British Invasion gets all the ink, but in 1964, as the Beatles were upending pop culture, a record by a jazz hit-maker and a Brazilian bossa nova innovator stormed the Grammy Awards and the American charts.
One of the most influential musicians of the 20th century, Gilberto and his peer and collaborator Antonio Carlos Jobim helped create and popularize bossa nova, a toned-down and romanticized take on Brazilian samba music.As much a feeling as a set of musical rules, Gilberto’s aesthetic has resonated in the work of artists including Caetano Veloso, Sade, Gal Costa, Leonard Cohen, Joni Mitchell, Stereolab, Seu Jorge and pretty much every Brazilian songwriter since 1960.
In 1958, Gilberto recorded “Chega de Saudade," a mesmerizing Jobim-penned crooner. Never much of a songwriter himself, Gilberto, then in his late 20s, regularly tapped Jobim’s work. That symbiotic musical relationship defined a movement, and along the way, bossa nova integrated itself into the global conversation in much the same way rock ’n’ roll did.
Rather than building Carmen Miranda-esque samba wildfires of big beat percussion to propel loud, expressive singers, Gilberto lighted a few candles and channeled the breathy tones of Chet Baker, Miles Davis and Frank Sinatra, as well as successful Brazilian singers Lucio Alves and Dick Farney. His success earned him a U.S. deal with Capitol Records in 1960.
That cool and gentle swing was “Getz/Gilberto”’s calling card. Featuring Jobim adding sparse counter melodies and accents on piano and Gilberto’s longtime drummer Milton Banana tapping out barely audible cymbal and tom-tom patterns, its eight songs defined a universe.Que isto é bossa-nova, isto é muito natural
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